Design House Stockholm celebrates its 20th anniversary this year and we sent a few questions to founder Anders Färdig to let us in on a few snippets about what separates the Swedish company from its contemporaries. Since its founding in 1992, Design House Stockholm has worked with some of the most talented young designers from around the world—Form Us With Love, Frederick Färg, and Jonas Wagell, among others. Using a model of production borrowed from book publishing, the company asks designers to send in ideas for products rather than calling upon a certain person to create a certain object. This approach has yielded an impressive array of products ranging from tabletop items to lighting to furniture to clothing. Each piece treads the territory of being visually minimalist but still incredibly engaging and never "plain." Below, Anders shares his thoughts and his three favorite pieces from the new collection.
Dwell features Eames furniture often, and it can be all too easy to see Charles and Ray Eames as an indivisible unit: they worked together, dressed similarly, and by all accounts had a perfectly happy marriage. But, it is important to recognize both of them as independent minds and partners, here Dwell turns the spotlight on Ray.
At America's first urban planning conference, held in New York in 1898, a British planner asked whether he and his colleagues were striving for beautiful people or beautiful cities. Is urban planning about physical design, he wondered, or about making things easier for the people who live in our urban spaces?
It was an essential question for the field, which really wasn't born until the early 20th century.
For this week's installment of entertaining tips, Dwell invited Los Angeles–based blogger, jewelry designer, and hostess extraordinaire, Kate Albrecht of mrkate.com over to set a table or two.
I wanted to share with you some quick ideas for on-the-fly table-tops for those unexpected entertaining moments when you have guests (or maybe a date) coming over with little notice and you don't have time to shop for a formal tablescape. I tasked myself to look around my rental apartment and create two, on-the-fly, modern-vintage themed tabletops that would suit my entertaining needs, without even getting as much as a bouquet of flowers from the store!
A trip to Brussels earlier this year included an afternoon visit to Studio With a View, a collective workshop shared by an architect, two photographers, and five designers. While there, I was able to watch a handful of the designers at work, including Raphael Charles, who was photographing a new version of his Magnetic Coffee Table, and Julien Carretero (below), who was experimenting with metal forms to create a new kind of lamp.
The theme for the 13th Venice Biennale as defined by David Chipperfield is Common Ground. Common ground has a wide range of interpretations from the very process of architecture and its language of communication to the operation of architecture as a framework for everyday life. The city of Venice inevitably permeates as another “common ground” and contextual layer of the experience in the Bienniale's installations that will be on view from August 29 to November 25. And of course the pavilions themselves, built mostly within the early modern period of the 20th century, serve as a counterpoint to the definition of our contemporary condition. These three elements—the city, the pavilions, and the installations—combined with an incredible gathering of individuals and dialog make the event a fantastically rich experience.
Nick Munro is known for tempering his modern sensibility with classic design. Inspired by a 1930s bicycle pump found in a garage, this stainless steel pot is a chic way to serve coffee.
It's something every designer, design writer, and design collector wonders constantly: Will this piece of furniture I made/ hailed in print/ bought still be in vogue in ten (or fifty) years' time? Julie Lasky addresses the issue in this week's New York Times, asking curators and design-world luminaries to select what pieces they think are destined to become future classics. (We've done the same, as evidenced in our July/August issue.) And while what was namechecked in the Times article is mostly worthy—notably Konstanin Grcic's One chair for Magis, nominated by four the dozen people Lasky polled, we want to open the floor to other ideas. What do you think will represent our present era of design in 2050? A few experts weigh in.
Who better than a British designer to dream up a smart modern tea pot. Nick Munro—based in Chester, the United Kingdom—takes a classic silhouette we all recognize and updates it by using 18/10 stainless steel as the main material. "A long time ago I visited a tea warehouse where they had a myriad of loose tea in boxes from all over the world. That got me thinking about where tea comes from and all the different types of leaves and flavours that are produced. The Spheres infusers were therefore inspired by the idea of tea leaves from around the world and I designed the infuser basket to work with all types of loose leaf flavors," writes Munro on his site.